Shirin Neshat
.Shirin Neshat uses images of a tree morphing with that of a woman. The tree/woman stands alone in a space surrounded by a wall. In the distance, a long parade of chanting figures approaches to pay tribute at the wall's edge. The work gives a deep sense of the poetry of grief and renewal (Lovejoy 2004). Shirin Neshat grew from an upper middle class family. She was from Qazvin, Iran but she moved to Los Angeles, California then to New York after finishing graduate school. Shirin Neshat’s work is about the various codes of Muslim societies and the complexity of opposites like man and woman. She makes sure that stereotypes are prevented and her work shows the various forces that shape the image of Muslim women all over the world. Neshat‘s work are usually poetic, philosophical and complex kind of what she believes as intellectual abstraction. One work of Neshat was the rapture series wherein the main theme was women and their hands covered with handwriting. The Space Context and Locale for the rapture series is Iran where there is some maltreatment of women. The woman in that area has been given too much rules to follow as if it was engraved in the palm of their hands. Just like the other works of Neshat, it comprises of opposites. The white hand was complemented by the dark background. As for Communities, the work is relevant to women who are abused. It is relevant to women who have fewer rights. As for the sub culture, the rapture series emphasizes the practices against Iranian women and the systems that degrade the value of women. The rapture also emphasizes the tradition of sub cultures within the country.
Diego Rivera
One of the principal artists in the Mexican mural movement, Diego Rivera helped initiate a national style based on socialist ideas and indigenous culture. Diego Rivera’s career was complicated by his involvement with the Communist Party, most painfully in his forced resignation from the directorship of the Academia de San Carlos. Nevertheless, Rivera achieved international fame as the greatest mural painter since Michelangelo. His work had a profound influence on muralists around the world. In Mexico, Rivera is regarded as perhaps the greatest artist in Mexican history (Roupp 1997). Diego Rivera was born in Guanajuato City in Mexico. He came from a wealthy family. Diego Rivera’s work initially was influenced by cubism wherein his works were object broken up, analyzed, and re-assembled in an abstract form. In later years he shifted into art that consist of simple forms and large patches of vivid colors or what was better known as Post-Impressionism. Rivera’s work gave him various accolades and immense popularity. One work of Rivera was El Vendedor De Alcatraces. The Space Context and Locale for El Vendedor De Alcatraces is not clear since it only shows a man carrying in his back a large bundle of lilies. Behind the man and the lilies are a dark background and a set of feet underneath the lilies. The community for the El Vendedor De Alcatraces includes vendors and those oppressed. As for the sub culture El Vendedor De Alcatraces emphasizes the oppression of vendors by those who are powerful individuals. Powerful individuals were shown through a set of large feet behind the vendor. The set of large feet seems to be observing the vendor.
Jenny Holzer
With her so-called Truisms Holzer wished to catch people's attention while they were waiting for the last train or at the moment they were grabbing their luggage in the transit zone of the airport to rush out into the metropolis. Jenny Holzer is among the artists who has continued and renewed the avant-garde tradition of what was once a heretical assimilation of elements from the entertainment industry and popular culture into the system of fine arts (Madsen & Plunz 2002). Jenny Holzer was from Gallipolis, Ohio. Holzer was an abstract artist, before she shifted her attention to working with text as an art form. Her work gave her a considerable popularity and a minimal sense of belongingness. Holzer’s art is illustrated below. It’s Space Context and Locale is not clear. It composes of a dark background and combines abstract elements. The community for her work is those who are unique but still want to convey a special message. As for the sub culture the art depicts how some messages can be both unique and appealing to all types of people.
Frida Kahlo
Frida Kahlo knew very well the aesthetic and human value of her big eyes crowned by thick eyebrows joined in the middle like the wings of a bird in flight. Painting them dry or raining tears, she always represented them as fixed on the viewer, wide open and defiant. Her face was always serious and thoughtful. Rivera was the one who painted her smiling to commemorate the first anniversary of her death, and in a Mexicanist drawing he shows her as she used to appear before the others: smiling, playful, and vital (Madsen & Plunz 2002). Frida Kahlo was born in Coyoacan, Mexico City. Frida Kahlo had parents with an unhappy marriage. Frida was close to her father. Frida initially concentrated on making paintings of herself and the self paintings she made usually have portrayals of pain. Kahlo made use of bright colors as a way to show her influence by Mexican culture. Most of the time a Monkey was included in her works and Frida made sure that Monkeys were portrayed as tender and protective symbols. Aside from Monkeys Christian and Jewish themes were included in her creations. One of her works was a portrait of her smiling. The Space Context and Locale of her self portrait is in a small room. The background is yellowish. The theme is bright and some sense of joy can be seen in the theme of the portrait. The community for her work is strong willed women who wanted to make a difference and would fight for their ideals. As for the subculture, the portrait depicts someone who is showing a stance different from what is dictated by norms, traditions and cultures. The portrait shows Frida having high levels of confidence.
References
Lovejoy, M 2004, Digital currents: Art in the electronic
age, Routledge, New York.
Madsen, P & Plunz, R (eds.) 2002, The urban lifeworld,
Routledge, London.
Roupp, H (ed.) 1997, Teaching world history: A resource
book, M.E. Sharpe, Armonk, NY.
Tibol, R 1993, Frida Kahlo: An open life, University of New
Mexico Press, Albuquerque.
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